neo-classicism art(jenica's report)

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    The term Neoclassicism refers to the classical revival inEuropean art, architecture, and interior design that lasted from

    the mid-eighteenth to the early nineteenth century.

    This period gave rebirth to the art of ancient Rome andGreece and the Renaissance as an opposition to theostentatious Baroque and Rococo art that preceded themovement. Although the movement spread throughoutWestern Europe, France and England were the countriesthat used the style most frequently in their arts andarchitecture, using the classical elements to express ideasof nationalism, courage, and sacrifice.

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    The most prominent exponent of18th-century Neoclassicism AntonMengs constantly referred to theheritage of Antiquity in search forperfect forms in art. The subject ofthis painting was inspired by anantique cameo belonging to Mengs'swife (now also in the Hermitage). Thefigure of Perseus is based on the

    statue of the Apollo Belvedere, andthe mosaic The Rescue of Hesione byHeracles and Telamon from the VillaAlbani in Rome. The artist's attentionto the modelling of forms reveals hisinterest in the Italian Renaissance.

    Perseus and AndromedaAnton Raffael Mengs, 1728-17791777

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    Neoclassicism emphasized rationality and the resurgence of tradition.

    Neoclassical artists incorporated classical styles and subjects, includingcolumns, pediments, friezes, and other ornamental schemes in theirwork. They were inspired by the work of Homer and Plutarch and JohnFlaxmanns illustrations for the Illiad and Odyssey. Other classic modelsincluded Virgil, Raphael, and Poussin among others. Neoclassicalpainters took extra care to depict the costumes, settings, and details ofclassical subject matter with as much accuracy as possible. Much of thesubject matter was derived from classical history and mythology. Themovement emphasized line quality over color, light, and atmosphere. Theheight of Neoclassicism was displayed in the paintings of Jacques-LouisDavid and Jean Auguste Dominique Ingres.

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    Jacques-Louis David (French, 17481825)The Death of Socrates 1787

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    Jacques-Louis David Art ReproductionsThe Death of Marat, 1793

    royal museums of Fine Arts, Brussels, Belgium

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    Comtesse d Haussonville_ ByJean- Auguste-Dominique Ingres.

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    The high tide of neoclassicism

    in painting is exemplified inearly paintings by Jacques-Louis David and Jean AugusteDominique Ingres' entirecareer. David's Oath of theHoratiiwas painted in Romeand made a splash at the ParisSalon of 1785. Its centralperspective is perpendicular tothe picture plane, made moreemphatic by the dim arcadebehind, against which theheroic figures are disposed as

    in a frieze.

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    The new interiors sought to recreatean authentically Roman andgenuinely interiorvocabulary,employing flatter, lighter motifs,sculpted in low frieze-like relief orpainted in monotones ("like

    cameos"), isolated medallions orvases or busts orbucrania or othermotifs, suspended on swags oflaurel or ribbon, with slenderarabesques against backgrounds,perhaps, of "Pompeiian red" or pale

    tints, or stone colors.

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    The Neoclassical movement lasted from the mid-18th until the end of the19th century, and was a distinct movement that drew on the Westernclassical art of Ancient Greece and Rome. Beginning in earnest in 1760s, itwas a reactionary movement against the sensuousness and frivolousnessof the Rococo and Baroque styles and a return to the ideal of Ancient

    Greece and the purity of Roman art

    Unlike Baroque or Rococo, Neoclassical paintings are sharp in colourand employ chiaroscuro, which is the (usually bold) contrast betweenlight and dark.

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    Neoclassicism as generally manifested in European painting by the

    1790semphasized the qualities of outline and linear design over those ofcolour,atmosphere, and effects of light. Widely disseminated engravings ofclassical sculptures and Greek vase paintings helped determine thisbias,

    which is clearly seen in the outline illustrations made by the BritishsculptorJohn Flaxman in the 1790s for editions of the works of Homer,Aeschylus, and Dante. These illustrations are notable for their drasticandpowerful simplification of the human body, their denial of pictorialspace,and their minimal stage setting. This austere linearity when depictingthehuman form was adopted by many other British figural artists,includingthe Swiss-born Henry Fuseli and William Blake, among others.

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    John William Godward

    SUNFLOWER

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    Cupid andPsyche 1817

    Jacques LouisDavid

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    The Execution of the Xeres revolutionaries in Spain by the garotte fromLe Petit Journal 1890sHenri Meyer

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    The Oath of the Horatii (detail 3) 1784Jacques Louis David

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    Nude Standing c. 1920Erzsebet Korb

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    Tamino plays the magic flute to ward off the wildbeasts, Act I scene xv, from The Magic Flute by

    Wolfgang Amadeus Mozart 1756-91, c.1793Joseph & Peter Schaffer

    , ,Magic Flute by Wolfgang Amadeus Mozart 1756-91, c.1793Joseph & Peter Schaffer

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    Antoinette At Her Dressing TableMary Cassatt

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    Neoclassicism arose partly as a reaction against the sensuous andfrivolously decorative Rococo style that had dominated European art

    from the 1720s on. But an even more profound stimulus was the new andmore scientific interest in classical antiquity that arose in the 18th century.

    Neoclassicism was given great impetus by new archaeologicaldiscoveries, particularly the exploration and excavation of the buriedRoman cities of Herculaneum and Pompeii (the excavations of whichbegan in 1738 and 1748, respectively). And from the second decade ofthe 18th century on, a number of influential publications by Bernard deMontfaucon, Giovanni Battista Piranesi, the Comte de Caylus, and

    Robert Wood provided engraved views of Roman monuments andotherantiquities and further quickened interest in the classical past.

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    Neoclassical painting style arose in France in the

    1780s under the leadership of Jacques-Louis David. He and hiscontemporary Jean-Franois-Pierre Peyron were interested innarrativepainting rather than the ideal grace that fascinated Mengs. Justbefore andduring the French Revolution, these and other painters adoptedstirring

    moral subject matter from Roman history and celebrated thevalues ofsimplicity, austerity, heroism, and stoic virtue that weretraditionallyassociated with the Roman Republic, thus drawing parallelsbetween that

    time and the contemporary struggle for liberty in France.

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    Joseph-Marie VienYoung Greek Maidens Decking the SleepingCupid with Flowers1773

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    Jean-Baptiste RegnaultLiberty or Death

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    Neoclassicism as manifested in painting was initially not stylisticallydistinct from the French Rococo and other styles that had preceded it. Thiswas partly because, whereas it was possible for architecture and sculptureto be modeled on prototypes in these media that had actually survivedfrom classical antiquity, those few classical paintings that had survivedwere minor or merely ornamental worksuntil, that is, the discoveriesmade at Herculaneum and Pompeii.

    The earliest Neoclassical painters were Joseph-Marie Vien, Anton RaphaelMengs, Pompeo Batoni, Angelica Kauffmann, and Gavin Hamilton; theseartists were active during the 1750s, '60s, and '70s. Each of these painters,though they may have used poses and figural arrangements from ancientsculptures and vase paintings, was strongly influenced by precedingstylistic trends. An important early Neoclassical work such as Mengs'sParnassus (1761; Villa Albani, Rome) owes much of its inspiration to

    17th-century classicism and to Raphael for both the poses of its figures andits general composition.

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    Jean-Auguste-Dominique Ingres (French, 1780-1867), Oedipus Solvesthe Riddle of the Sphinx, oil on canvas, 1808. See sphinx.

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    Jacques-Louis David, Cupid and Psyche, 1817, oil on canvas,Cleveland Museum of Art.

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